Platform, Vol. 6, No. 2, Representing the Human, Summer 2012
Becoming Annot: Identity Through Clown
By Anne-Pauline van der A
Abstract
This article tracks the performative creation and evolution of a clown
persona, ‘Annot’, that I developed as part of my academic research
into the construction of clown personae by their performers. To
capture her I employed the medium of performance photography.
Concentrating on the actions performed, my clown arose from
impulses and responses to gestures. Following the definition of
performativity, identity came later, through action. However, as any
construction of the body is also a construction of the individual as
embodied, my investigation of the performative construction of the
figure of the clown resulted at the same time in a highly personal
and therefore new and original performance. Since clowning
awakens hidden aspects of the individuals involved, it allows for
the integration of form and emotion as expressed by the clown
performer. This article argues that it is precisely in the performance
of clown that identity is revealed as an authentic expression of
human embodiment.
The clown is ubiquitous. The clown is of all times and of all places.
‘Clown’ can describe a range of figures, behaviours and situations.
The very diversity of clown makes a comprehensive definition
difficult; but the persistent, recognizable notion of clown suggests
that there must be some essential performative quality worth
exploring. My own previous research into clown performances
sparked my interest in the way in which a performer constructs
and develops his clown persona.* I therefore decided to investigate
how the various contemporary approaches to clown might inform
such a process.
In this article I will track the performative creation and
evolution of my own clown persona, Annot. Through the creative
process of becoming Annot and through my own performance
* See van der A, ‘Performing Charlot/Hulot’. Both Charlot and Hulot can be seen
as the inspiration for Annot’s name, accordingly pronounced ‘ah-NO’.
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Becoming Annot
practices in both private and public space, I explored the processes
of ‘becoming clown’ and examined the extent to which this process
negotiates embodiment. My practical research on clown and on
the relationship of the clown persona to the self contextualised my
theoretical approach and contributed to the existing theoretical
material on clowning. This article argues that precisely the
construction of a clown persona and his subsequent performance
permit not only an expression of the personal through clown – as
his identity is revealed as a truthful and authentic expression of the
performer’s self – but also allow for the provocation that, to an
extent, the clown persona can be identified as a person existing in
his own right.
Drawing on my own basic clown training, I will examine
the training of the modern clown performer and discuss the
conceptions and techniques he acquires. I will indicate how the
performer may apply these in the development of his own clown
and in his interaction, or even confrontation, with the audience. In
addition I will focus on the intrinsic paradox of the clown, whose
incongruent performance not merely provides entertainment, but
who through his performance seeks to encourage contemplation
and reflection, even subversion.
This will be juxtaposed with the creation of my own clown
persona, Annot, and her first experiences in the outside world. To
document the actions that Annot performed and the reactions
she effectuated through her performances I turn to performance
photography. The art form of performance photography is both
a representative of the artistic practice and an inherent part of the
creative act: the act of documenting an event as a performance
is what constitutes it as such, because its liveness exists not as a
prior condition, but as a result of its mediatisation (Auslander 5; cf.
Taylor 35).
To quote multimedia artist and writer Coco Fusco,
performance photography forms ‘the only means of sustaining the
life of [the] performance’ (62). The photographic record of Annot’s
performances accordingly enabled me to reflect on the figure and
function of the clown, as this visual documentation showed me the
performing image of this clown persona as well as her perception
by the audience.
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Fig.1 Annot (2011). Courtesy of Anne-Pauline van der A.
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Creative clown training: how to develop an authentic persona
The initial manifestation of Annot mainly derives from a six-week
placement that I undertook in the spring of 2011 at Circomedia,
Centre for Contemporary Circus and Physical Performance
in Bristol,* where I attended classes in clowning and obtained
varied training and creative learning through observation and
participation in an area of performance practice that was largely
new to me. My introduction to the world of clown culminated in a
three-day masterclass by mask teacher Steve Jarand, during which
I was encouraged to let go of my ‘imposed I-persona’ by way of
the Trance Mask-method. It seems significant that by wearing a
mask I allowed myself the freedom to drop the ‘mask’ that I felt
society had imposed on me in recent years. I had to undergo this
personal development before my clown persona was disclosed to
me and could manifest herself; concentrating on the actions that
I performed, allowing for the ‘development of the active side of
consciousness and sensations in the process of human becoming’
(Simonsen, 3), my clown arose from my own personal impulses
and responses to gestures.
Circomedia’s educational philosophy is based on the
theories of French actor, mime and clown master Jacques Lecoq
(1921-1999), founder of the famous physical theatre and clown
school L’École Internationale de Théâtre Jacques Lecoq in Paris.
The idea that each individual has one or more clowns within himself
lies at the centre of Lecoq’s approach to clowning. According
to Lecoq, his students were drawn to his conception of clown
because its then novel approach permitted liberation from socially
assigned conditions (cf. Murray 62). Clowning forms a domain
of possibilities for a performer as basic modern clown training
includes attempts to reveal ‘the person underneath, stripped bare
for all to see’ (Lecoq 154). This suggests that the clown persona
cannot exist apart from the person performing him. The clown
performer creates a character identity which, although perhaps not
entirely that of the performer himself, is nevertheless tailored to his
needs for self-expression. Clowning allows for the integration of
* Circomedia, the internationally-respected centre of excellence for circus and theatre
training, founded in 1994 by physical theatre expert and clown Bim Mason and
choreographer and performer Helen Crocker, was set up as a continuation of Fool Time,
the first circus school in Britain, founded in 1986. See also Gartside 13.
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form and emotion as expressed by the clown performer. Following
the definition of performativity, identity comes later, through action
(Mazzone-Clementi 61). As such, the modern clown performer
frequently chooses to adopt a ‘performance persona’ based on the
off-stage ‘self ’, on which he draws as a foundation to develop his
material beyond the constraints of realist- or illusionistic-led scenes
(cf. Bailes xvii). This also means that the clown performer does not
convey feelings and ideas originally voiced by someone else:
When a clown performs, the audience sees the
ideas and attitude of that individual conveyed by
an adopted persona that has developed out of the
individual’s personality and which could never be
adopted and lived in the same way by anyone else. The
clown is not an interpreter. In his or her performance
the view of and reaction to the world is the same for
the creation […] as for the performer. (Peacock 14)
The techniques included in modern theatre training require
considerable physical effort and are therefore sometimes defined
as imprisoning processes of the body. Yet the paradox which lies at
the heart of these techniques is that the performer, by mastering
them, gains the freedom and spontaneity that are so essential for an
authentic clown persona. A combination of the body techniques of
clowning and (classes in) physical theatre therefore allows the clown
performer to construct unique clown characteristics according to
his own personal style. These clown conceptions emphasize the
single, sheer creator in clown (cf. Little 55-56).
The main emphasis of clown work thus amounts to
(physical) self-discovery: ‘clowning awakens hidden aspects of all
individuals involved’ (Peacock 154). By stimulating transparency
towards the world, clowning also invites the performer to reveal
his shortcomings. This corresponds with the philosophy of
Circomedia’s Bim Mason:
I always see teaching clowning, learning clowning,
as a means to an end: it is a way for people to
learn to laugh at themselves, to base it on who they
are, their real personalities and their real bodies.
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Becoming Annot
What I try to do is get them easy with their
imperfections. (Lidington)
As such, the role of clown also involves an exhibition of some
incongruity, vulnerability, weakness or failure. As actress and
clown Angela De Castro suggests: ‘clowns celebrate imperfection
and that makes it more real’ (qtd. in Peacock 95). To become a
clown one must be distorted from expectation in appearance or
conduct (Klapp 158-159), ultimately resulting in a highly personal
and therefore new and original performance: the clown clowns to
express his personal observations about life and humanity.
Meet Annot: the creation of my own clown persona
This conception of clown as something highly personal and as
dependent upon experience at a personal level is something I came
across in my own performance practice as well. I started from
personal exploration through performing clown play, but hardly
worked according to any predetermined, academic design. Instead
I sometimes found myself less in control of my research than I had
envisaged: occasionally serendipity seemed to take over, prompting
me to allow for the discovery of what might appear. I realised that
much of the creative process seemed to happen subconsciously,
such as when my clown persona introduced herself to me during
my training; I suddenly ‘saw’ the image of a female clown, as clearly
as if she had just entered the room. The name ‘Annot’ came to
mind almost simultaneously.
Fig.2 ‘An Emerging Persona’ (2011). Courtesy of Anne-Pauline van der A.
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Gradually the different forms of physicality, motion,
physical accents and postures of Annot started to emerge.
Putting together the appropriate costume for my clown did not
primarily include conscious decisions either, but happened rather
more arbitrarily, adapting garments that I could find in various
wardrobes. Annot’s short, white dress and black stockings underline
her childishness as well as her gender, while the blue vintage jacket
on top more generally emphasizes the figure’s angular shoulders.
The other main component of Annot’s costume is an oversized, red
duffle coat, which seems particularly appropriate since the colour
red appears to be iconic to clown. Upon her head Annot often
wears a bowler hat – another iconic clown attribute – while the
glasses that I, as an individual, would otherwise wear are shadowed
in the black circles around her eyes. I chose plump shoes to fit in
with the rest of Annot’s costume so as to accentuate my somewhat
clumsy gait as well as my feet: feet that in total relaxation point
almost perfectly (heels together) to the right and to the left.
Fig.3 ‘Out and About in Public Space’ (2011). Courtesy of Anne-Pauline van der A.
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The effect of applying these characteristics is that the body
becomes the ‘stage’ for the eccentricity of the clown: transgressing its
own boundaries, the body plays up its own exaggeration (cf. Lachmann
146). That is, in the way that the clown presents himself by altering his
physical appearance, the figure reinforces any bodily defects he might
have by means of his choice of costume. As the construction of the
body determines the construction of the individual as embodied, this
element of clown has not so much to do with putting on a show, but
forms a part of the clown that ‘is like a skin’ (Peacock 38). Similarly,
Annot’s big, brightly coloured duffle coat visually externalizes a specific
bodily experience, as it is appropriate to the fact that I often feel cold.
This coheres with a more postmodern performance style in which
the performer draws attention to himself as an individual, not as a
character (Peacock 105). It precisely ‘blurs the boundaries between
private and performative personae and thus displays and deconstructs
the performative self’ (Groot Nibbelink 306). The actions and
gestures that I perform as Annot are often integrated into the everyday,
blending personal identity and performance. With this in mind, I
intentionally rejected the red clown’s nose, as it locates the clown too
emphatically within a frame of exaggeration and overt humour; the
attribute can form a barrier for the performance as it might lead to a
certain expectancy on the part of the audience for the performer to ‘do
something funny!’.
However, the transgression from the norm will be obvious
enough to mark the clown as different, signifying that the clown is
a clown (cf. Peacock 15). This peculiarity of the clown figure was
illustrated during the production of my performance photography,
when ‘Annot’ went for coffee at a local café; although my costumed
appearance and the presence of a person with a camera (even taking
pictures inside the premises) occurred within an obvious performance
frame, we were ignored for a long time before we were somewhat
reluctantly served. Evidently, what may not even cause someone to
raise an eyebrow in one context, may arouse rather more intense
reactions in another (cf. Miller 318). And the incident suits the mode:
the clown’s act is continuous and involves ‘the never-ending and
precarious dramatizing of what happens to such a [figure] when thrust
into the realities of life itself’ (Tyler 83). For there is always something
of the ‘other’ about the figure of the clown, in particular an ‘otherness’
in his attitude to life as expressed through his performance (Peacock 2).
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Fig.4 Waiting to be served (2011). Courtesy of Anne-Pauline van der A.
An identity of contrasts
Note, however, that the clown sees nothing peculiar in himself;
the clown simply is (cf. Larner 114): ‘The reactions of […] the
audience are the strange thing. He is normal’ (Mazzone-Clementi
63). Nevertheless the clown, distinguishing himself from others by
deviating both in appearance and in physicality, is an outsider from
human society. This position, however, grants him the freedom to
expresses his observations on humanity and on contemporary life
by commenting on the interaction between individuals and the
society in which they live. By taking what is socially presumed as
‘normal’ and ‘natural’ out of its usual context, the clown explores
the incongruity and inherent absurdity of his own clowning as he
confronts his audience with an alternative perspective: ‘a way of
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looking at the world that is different, unexpected, and perhaps
even disturbing’ (Swortzell 2).
The result of this kind of deviant behaviour can be
ambiguous, even wry. As adopted by contemporary artists, the
previously comical role of clown has evolved into a more reflective
performance with a more cynical figure (Fisher 30). Donald
McManus even suggests that the 20th century was the century in
which the character of the clown ceased to be comic. The clown
has become the means through which the more tragic, modern
impulse of the world can be expressed as an insight, a question,
or a commentary that is rather more confrontational than it is
entertaining, causing the audience to laugh in spite of themselves.*
Fig.5 ‘An identity of contrasts’ (2011). Courtesy of Anne-Pauline van der A.
* As Jan Jan Kott noted early in the 1960s in his essay ‘King Lear or Endgame’:
‘When established values have been overthrown, and there is no appeal to God,
Nature, or History, from the tortures by the cruel world, the clown becomes
the central figure’ (qtd. in Schechter 100). According to Jan Kott, in King Lear
Shakespeare moves his clown character in a new direction; Lear’s Fool’s stands in
relation to his master as an alter ego. As such the figure is anachronistically like
the modern clown, not simply deployed to make his audiences laugh, but ideally
attuned to reveal the pain of existence, or ‘what it is to be human and to be flawed’
(Peacock 93).
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Accordingly, clown-play can include tension,
disengagement or alienation, even anxiety and hysterics, and
can involve physical and emotional risks to the performer’s self
(Hyers 6; Callery 64; Peacock 12; cf. Schechner 82). Indeed,
Schechner has remarked that the etymology of the English word
‘play’ includes allusions to risk and danger, as the oldest meaning
of the verb is ‘to vouch or stand guarantee for, to take a risk, to
expose oneself to danger for someone or something’ (81; cf. 80).
Thus the etymology of the word ‘play’, so inextricably linked to
clown, corroborates the notion that the performance of clown is
often situated ‘on the edge of self-destruction’ (Manvell 27). As
Kevin Kern puts it: ‘Breakdowns, missteps and screw-ups are life
forces that flow through clown veins’ (195). These forms of failure
and disaster are not necessarily always accidental or improvised,
and therefore not necessarily unique or irreproducible. They may
occur in scripted but also in unscripted acts (Bailes 5), as happened
to me when I suffered a minor injury during the creative process
of my performance photography. This was not intended or preconceived, but significant in connection to the awkwardness that
is a defining characteristic of the clown figure in general, and of
Annot specifically.
Fig.7 and 8. ‘Unscripted acts’ (2011). Courtesy of Anne-Pauline van der A.
During the process of Annot’s creation, the powerful
balance of vulnerabilities and strengths that are so intrinsically
linked with the clown figure required me to work out parts of
myself and to deal with certain issues, uncertainties, painful aspects
and fears. In fact, finding that balance was particularly challenging
in my case, as I was born significantly prematurely and spent
several months in an intensive care incubator that regulated my
breathing, my medication, my nutrition and my body temperature.
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This condition had far-reaching consequences, in that I suffered
severe brain damage during the first hours of my life, which caused
permanent injuries to my vestibular system (balance) and adversely
affected the coordination of my limbs; in my early childhood it was
a major challenge for me to learn to walk properly, and even today
I cannot ride a bicycle without falling over. Simpler still, it took me
almost ten years before I could put on my socks by myself. During
my later childhood I was often ridiculed by people around me –
children as well as adults – because of these limitations resulting
from my premature birth.
The traumas of my preterm suffering, as well as the
strengths demanded of me to overcome them, also constitute my
personal history in performative terms: the continual medical
procedures I was subjected to in the incubator and the actions
I thus (forcibly) ‘performed’ played a determinative role in my
becoming and shaped me into the person I am now. Accordingly,
the vulnerabilities of my early self-emotional as well as physical, as
reflected in the actual scarring on my body-have also shaped my
clown persona, Annot. During the process of becoming Annot,
I realised that her identity is at least partly based on the activities
I cannot perform as a result of the damages sustained by my
premature birth. But while ‘cannot’ limits me, I realise that there
is a lot that I can do, which underscores the suitability of the name
‘Annot’, as opposed to the suppressive and inhibitory quality of
‘cannot’. Moreover, as the name ‘Annot’ resembles my own given
name, using it allowed me to remain close to myself.
Fig.9 and 10. ‘Performing the incubator’ (2011) and ‘In the incubator’ (1985).
Courtesy of Anne-Pauline van der A.
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Performing the ‘self ’: the humanity of the clown
Obviously clown does not mend any (physical) traumas. However,
it does allow the clown performer to turn any personal inabilities
into his main performative strength. The genius of clowning is not
only the overcoming, but also the transforming of the everyday.
This is why corporeality is the central axis of clown comedy; the
clown’s (in most cases carefully trained) lack of coordination in
the physicality of his body mocks society’s controlled norms and
rules, and so forms his principal tool for subversion. The technical
mastery of the performer in addition to the deployment and even
exploitation of the individual strengths and weaknesses of the
‘self ’ constitute a reappropriation, perhaps even a reevaluation of
both. As such the discovery of one’s inner clown provides a way of
increasing self-awareness and a means of personal development.
This allows the clown performer to find alternatives to his ways of
behaving in and coping with life. The opportunity to reveal new
facets of the self builds confidence and attitude, while ensuring the
potential to bring about personal change in that the mode of clown
‘opens up a fruitful, tragicomic ground’ wherein subversion and
resistance can be tried out and rehearsed by exposing what others
(wish to) keep hidden (Bailes 3; Peacock 156).
My research revealed an overlap between theatre and
everyday conduct, pointing to the social formation of personality
by increasing the visibility on the conceptions of embodiment in
human performance. For the clown performer specifically, the
clowning mode both stimulates and facilitates his transparency
to the world around and the world within. When clowning, the
various aspects of the self are not acted out, but revealed: ‘To be
a clown is to create and express a total personality’ (Swortzell 3).
When the clown performer stands before an audience, he does
so in person, not hidden behind an externally created character
but revealed in a theatrical version of himself: the clown persona
(Peacock 103; cf. James Naremore 11). The performer should,
then, be interpreted not as one who is pretending, i.e. performing a
character, but as one whose primary concern is being his individual
‘self ’. Because of this, usually a performer assumes his clown
persona for life. When the mode requires the clown performer to
reveal personal insecurities and vulnerabilities to the audience and
to society, such a disclosure of the self may be confrontational.
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Yet the clown’s manifold moments of crisis constitute a space for
recognition and sympathetic identification for the audience as well,
in which the function of clowning to confront the audience with
awkward, embarrassing and sometimes even painful situations is
particularly resonant:
The audience laughs at the clowns [...] but at the
same time, they may be laughing with the clowns,
internalizing elements of the experience and exploring
the parallels between the clowns and themselves.
(Peacock 102-103, emphasis in original)
Through the clown’s display of human vulnerabilities the
audience will recognize themselves as well as the emotions and
imperfections of human nature. This is the crucial point about
the performance of clown: the audience ‘discovers’ that they
all are, in some sense, clowns as well (Delpech-Ramey 140).
Fig.11 ‘Human Vulnerability’ (2011). Courtesy of Anne-Pauline van der A.
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As such the clown constantly deals with what it means to be
human; while commenting on the absurdities of life he encourages
contemplation with particular emphasis on an existentialist
viewpoint (Peacock 26, 14 and 106; cf. Bailes xvi). But because
the performance of the clown remains double-edged as both the
comic and the tragic occur in the same experience simultaneously,
any empathic identification with the figure can quickly pass into
an uncomfortable reminder of personal failure when identifying
too closely with the clown as victim of a seemingly comic situation
(Kris 214). The status of the clown therefore represents a paradox
in that the type is both depreciated and valued, rejected as well
as embraced (Klapp 161). Indeed, the clown precisely has to be
valued and taken seriously, as a situation can only be experienced
as ‘tragicomic’ when the object of sympathy retains a minimum of
dignity (Hofstadter 302; Delpech-Ramey 136).
Fig.12 ‘Performing the self ’ (2011). Courtesy of Anne-Pauline van der A.
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With the creation of my own clown persona, Annot,
I explored performativity by means of clown. By putting on my
costume I deliberately created a situation of performativity which
enabled me to emphasize my ‘otherness’. Annot embodies much of
what I regard as my personal failures, or what had caused others to
exclude me; my performances included a physicality that referred to
my bodily limitations due to my premature start in life. However,
the specific characteristics of my clown persona worked to turn
my weaknesses into a determining strength for me as a performer
and as an individual. The creative process towards becoming Annot
taught me that laughter is a powerful survival tool. Performing
Annot enabled me to put my personal history into perspective, to
come to grips with my limitations and to accept them more easily.
So Annot is an expression of (parts of ) myself. Simultaneously,
Annot can be seen as a person existing in her own right, which in
itself poses another paradox. During my research, as well as while I
was writing this article, at times I was confronted with the blurring
of the two differing identities, of myself and of Annot, of the
performer and of the clown. Ultimately, the authenticity of Annot
manifested itself in the intriguing feeling that my creative choices
seemed to be imposed by my clown persona herself.
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Fig.13 ‘Untitled’ (2011). Courtesy of Anne-Pauline van der A.
Becoming Annot
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